Gerald Finley bass-baritone Julius Drake piano - Michael Mofidian bass-baritone Jâms Coleman piano Saturday 24 April 2021 6.00pm Leeds Town Hall ...
←
→
Transkription von Seiteninhalten
Wenn Ihr Browser die Seite nicht korrekt rendert, bitte, lesen Sie den Inhalt der Seite unten
Gerald Finley bass-baritone
Julius Drake piano
Michael Mofidian bass-baritone
Jâms Coleman piano
Saturday 24 April 2021
6.00pm
Leeds Town Hall
PROGRAMME
Michael Mofidian and Jâms Coleman - Momentum Artists
Brahms Vier ernste Gesänge
Denn es gehet dem Menschen
Ich wandte mich
O Tod, wie bitter bist du
Wenn ich mit Menschen und mit Engelzungen redete
_________________________________________________
Gerald Finley and Julius Drake
Schubert Die Schöne Müllerin
Das Wandern
Wohin?
Halt
Danksagung an den Bach
Am Feierabend
Der Neugierige
Ungeduld
Morgengruß
Des Müllers Blumen
Tränenregen
Mein
Pause
Mit dem grünen LautenbandeDer Jäger Eifersucht und Stolz Die liebe Farbe Die böse Farbe Trockne Blumen Der Müller und der Bach Des Baches Wiegenlied
Leeds Lieder Concert Season 2020-21
Momentum Programme
Michael Mofidian bass-baritone
Jȃms Coleman piano
Johannes Brahms (1833-1897)
Vier ernste Gesänge - Four Serious Songs
Denn es gehet dem Menschen For that which befalleth the sons of men...
Denn es gehet dem Menschen wie dem Vieh; For that which befalleth the sons of men befalleth
wie dies stirbt, so stirbt er auch; beasts, as the one dieth, so dieth the other;
und haben alle einerlei Odem; yea, they have all one breath;
und der Mensch hat nichts mehr denn das Vieh: so that a man hath no preeminence above a beast:
denn es ist alles eitel. for all is vanity.
Es fährt alles an einem Ort; es ist alles von All go unto one place; all are of the dust
Staub gemacht, und wird wieder zu Staub. and all turn to dust again.
Wer weiß, ob der Geist des Menschen aufwärts Who knoweth the spirit of man that goeth upward,
fahre, und der Odem des Viehes unterwärts and the spirit of the beast that goeth downward to
unter die Erde fahre? the earth?
Darum sahe ich, daß nichts bessers ist, denn Wherefore I perceive that there is nothing better,
daß der Mensch fröhlich sei in seiner Arbeit, than that a man should rejoice in his own works;
denn das ist sein Teil. for that is his portion:
Denn wer will ihn dahin bringen, daß er sehe, for who shall bring him to see what shall be after
was nach ihm geschehen wird? him?
Ecclesiastes 3: 19-22
Ich wandte mich und sahe an So I returned, and considered
Ich wandte mich und sahe an alle, die Unrecht So I returned, and considered all the oppressions
leiden unter der Sonne; und siehe, da waren that are done under the sun: and behold the tears
Tränen derer, die Unrecht litten und hatten of such as were oppressed, and they had no
keinen Tröster; und die ihnen Unrecht täten, comforter; and on the side of their oppressors there
waren zu mächtig, daß sie keinen Tröster haben was power; but they had no comforter.
konnten.
Da lobte ich die Toten, die schon gestorben Wherefore I praised the dead which are already
waren mehr als die Lebendigen, die noch das dead more than the living which are yet alive.
Leben hatten;
Und der noch nicht ist, ist besser, als alle beide, Yea, better is he than both they, which hath not yet
Und des Bösen nicht inne wird, das unter der been, who hath not seen the evil work that is done
Sonne geschieht. under the sun.
Ecclesiastes 4: 1-3O Tod, wie bitter bist du O death, how bitter is the remembrance... O Tod, wie bitter bist du, wenn an dich O death, how bitter is the remembrance of thee to gedenket ein Mensch, der gute Tage und a man that liveth at rest in his possessions, unto genug hat und ohne Sorge lebet; und dem es the man that hath nothing to vex him, and that wohl geht in allen Dingen und noch wohl essen hath prosperity in all things: yea, unto him that is mag! yet able to receive meat! O Tod, wie wohl tust du dem Dürftigen, der da O death, acceptable is thy sentence unto the schwach und alt ist, der in allen Sorgen steckt, needy, and unto him whose strength faileth, that und nichts Bessers zu hoffen, noch zu erwarten is now in the last age, and is vexed with all things, hat! and to him that despaireth and hath lost patience. Ecclesiastes 41: 1–2 Wenn ich mit Menschen und mit... Though I speak with the tongues of men... Wenn ich mit Menschen und mit Engelszungen Though I speak with the tongues of men and of redete, und hätte der Liebe nicht, so wär' ich ein angels, and have not charity, I am become as tönend Erz, oder eine klingende Schelle. sounding brass, or a tinkling cymbal. Und wenn ich weissagen könnte, und wüßte alle And though I have the gift of prophecy, and Geheimnisse und alle Erkenntnis, und hätte understand all mysteries, and all knowledge; and allen Glauben, also daß ich Berge versetzte, though I have all faith, so that I could remove und hätte der Liebe nicht,so wäre ich nichts. mountains, and have not charity, I am nothing. Und wenn ich alle meine Habe den Armen And though I bestow all my goods to feed the gäbe, und ließe meinen Leib brennen, und hätte poor, and though I give my body to be burned, der Liebe nicht, so wäre mir's nichts nütze. and have not charity, it profiteth me nothing Wir sehen jetzt durch einen Spiegel In einem For now we see through a glass, darkly; but then dunkeln Worte; dann aber von Angesicht zu face to face: Angesichte. Jetzt erkenne ich's stückweise, now I know in part; Dann aber werd ich's erkennen, gleich wie ich but then shall I know even as also I am known. erkennet bin. Nun aber bleibet Glaube, Hoffnung, Liebe, And now abideth faith, hope, charity, these three; diese drei; Aber die Liebe ist die größeste unter but the greatest of these is charity. ihnen. 1st Corinthians 13: 1-3, 12-13
Gerald Finley bass-baritone
Julius Drake piano
Franz Schubert (1797-1828)
Die schöne Müllerin
Wilhelm Müller (1794-1827)
Das Wandern Wandering
Das Wandern ist des Müllers Lust, To wander is a miller’s delight,
Das Wandern! To wander!
Das muß ein schlechter Müller sein, Only a bad miller
Dem niemals fiel das Wandern ein, Has never felt like wandering,
Das Wandern. Wandering!
Vom Wasser haben wir’s gelernt, We’ve learnt it from the water,
Vom Wasser! The water!
Das hat nicht Rast bei Tag und Nacht, It doesn’t rest by night or day,
Ist stets auf Wanderschaft bedacht, It’s always intent on wandering,
Das Wasser. The water.
Das sehn wir auch den Rädern ab, We see it in the wheels too,
Den Rädern! The wheels!
Die gar nicht gerne stille stehn, They never want to stand still,
Die sich mein Tag nicht müde gehn, And never get tired the whole day long,
Die Räder. The wheels.
Die Steine selbst, so schwer sie sind, Even the stones, heavy as they are,
Die Steine! The stones!
Sie tanzen mit den muntern Reihn They dance along cheerfully
Und wollen gar noch schneller sein, Wanting to move even faster,
Die Steine. The stones.
O Wandern, Wandern, meine Lust, Oh wandering, wandering, my delight
O Wandern! Oh wandering!
Herr Meister und Frau Meisterin, Master and Mistress,
Laßt mich in Frieden weiter ziehn Let me go my way in peace
Und wandern. Just wandering.
Wohin? Whither?
Ich hört’ ein Bächlein rauschen I heard a little stream babbling
Wohl aus dem Felsenquell, From its rocky source,
Hinab zum Tale rauschen Babbling down to the valley,
So frisch und wunderhell. So clear and bright.
Ich weiß nicht, wie mir wurde, I don’t know what came over me,
Nicht, wer den Rat mir gab, Or who prompted me,
Ich mußte auch hinunter But I had to go down too
Mit meinem Wanderstab. With my wanderer’s staff.
Hinunter und immer weiter Further and further down,
Und immer dem Bache nach, Always following the stream,
Und immer heller rauschte, And the stream babbled ever more cheerily
Und immer heller der Bach. And ever more brightly.Ist das denn meine Straße? Is that then the path I should take? O Bächlein, sprich, wohin? Little stream, tell me – where does it go? Du hast mit deinem Rauschen With your babbling Mir ganz berauscht den Sinn. You have completely confused me. Was sag’ ich denn vom Rauschen? Why do I speak of babbling? Das kann kein Rauschen sein: That can’t be babbling, Es singen wohl die Nixen It’s the water nymphs singing Tief unten ihren Reihn. As they dance their round far below. Lass singen, Gesell, lass rauschen, Let them sing, my friend, let the stream babble, Und wandre fröhlich nach! And follow it cheerfully! Es gehn ja Mühlenräder For mill wheels turn In jedem klaren Bach. In every clear stream. Halt Halt Eine Mühle seh’ ich blinken I see a mill gleaming Aus den Erlen heraus, Amid the alders, Durch Rauschen und Singen Over the babbling and singing Bricht Rädergebraus. I hear the roar of mill-wheels. Ei willkommen, ei willkommen, Oh welcome, welcome, Süßer Mühlengesang! Sweet music of the mill! Und das Haus, wie so traulich! And the house, how inviting! Und die Fenster, wie blank! And the windows, how they sparkle! Und die Sonne, wie helle And how brightly the sun Vom Himmel sie scheint! Shines in the heavens! Ei, Bächlein, liebes Bächlein, Oh stream, dear little stream, War es also gemeint? Was this planned? Danksagung an den Bach Thank you, stream War es also gemeint, So was this what you meant, Mein rauschender Freund, My dear babbling friend, Dein Singen, dein Klingen, Your singing, your murmuring, War es also gemeint? Was this what you meant? „Zur Müllerin hin!“ ‘To the maid of the mill!‘ So lautet der Sinn. This is your meaning. Gelt, hab’ ich’s verstanden? Have I understood you? „Zur Müllerin hin! ‘To the maid of the mill!‘ Hat sie dich geschickt? Did she send you? Oder hast mich berückt? Or are you teasing me? Das möcht’ ich noch wissen, That’s what I want to know, Ob sie dich geschickt. Did she send you? Nun wie’s auch mag sein, Oh well, whatever! Ich gebe mich drein: I’ll go along with it: Was ich such’, hab’ ich funden, What I was searching for I have found, Wie’s immer mag sein. However it has happened. Nach Arbeit ich frug, I asked for work, Nun hab’ ich genug, Now Ihave plenty, Für die Hände, für’s Herze For my hands, for my heart, Vollauf genug! More than enough!
Am Feierabend At the end of the day Hätt’ ich tausend If I had a thousand Arme zu rühren! Arms to wield! Könnt’ ich brausend If only I could drive Die Räder führen! The rushing wheels! Könnt’ ich wehen If only I could blow like the wind Durch alle Haine! Through every wood, Könnt’ ich drehen And turn Alle Steine! Every millstone! Dass die schöne Müllerin So that the beauriful miller maid Merkte meinen treuen Sinn! Would see my true love! Ach, wie ist mein Arm so schwach! Oh but my arms are so weak! Was ich hebe, was ich trage, Whatever I lift, whatever I carry, Was ich schneide, was ich schlage, Whatever I cut, whatever I hammer, Jeder Knappe tut mir’s nach. Every apprentice can do the same. Und da sitz’ ich in der grossen Runde, And here I sit in the midst of the company, In der stillen kühlen Feierstunde, In the quiet, cool hour at work’s end, Und der Meister sagt zu Allen: And the master says to everyone „Euer Werk hat mir gefallen;“ “I am pleased with your work,” Und das liebe Mädchen sagt And the sweet maid wishes Allen eine gute Nacht. Everyone a good night. Der Neugieriger The inquisitive one Ich frage keine Blume, I can’t ask the flowers, Ich frage keinen Stern, I can’t ask the stars,. Sie können mir alle nicht sagen, None of them can tell me Was ich erführ’ so gern. What I so long to know. Ich bin ja auch kein Gärtner, I’m no gardener, Die Sterne stehn zu hoch; And the stars are too high, Mein Bächlein will ich fragen, I will ask my little stream Ob mich mein Herz belog. If my heart has lied to me. O Bächlein meiner Liebe, Oh dear lttle stream, Wie bist du heut’ so stumm! Why are you so silent today? Will ja nur Eines wissen, I want to know just one thing, Ein Wörtchen um und um. Just say one of two words. Ja, heißt das eine Wörtchen, One word would be yes, Das andre heißet Nein, The other would be no, Die beiden Wörtchen schließen These two little words Die ganze Welt mir ein. Enclose my whole world. O Bächlein meiner Liebe, Oh dear lttle stream, Was bist du wunderlich! How strange you are!. Will’s ja nicht weiter sagen, I won’t tell anyone else, Sag’, Bächlein, liebt sie mich? But tell me little stream, does she love me?
Ungeduld Impatience
Ich schnitt’ es gern in alle Rinden ein, I would like to carve it on the bark of every tree,
Ich grüb’ es gern in jeden Kieselstein, I would like to inscribe it on every pebble ,
Ich möcht’ es sä’n auf jedes frische Beet I want to sow it on every fresh plot,
Mit Kressensamen, der es schnell verrät, With cress seeds to quickly reveal it,
Auf jeden weißen Zettel möcht’ ich’s schreiben: I want to write it on every bit of white paper,
Dein ist mein Herz, und soll es ewig bleiben. My heart is yours, and always will be.
Ich möcht’ mir ziehen einen jungen Star, I wish I could train a young starling
Bis daß er spräch’ die Worte rein und klar, Until it could speak words purely and clearly,
Bis er sie spräch’ mit meines Mundes Klang, Until it spoke them with the sound of my voice,
Mit meines Herzens vollem, heißem Drang; With the whole passionate desire of my heart,
Dann säng’ er hell durch ihre Fensterscheiben: Then it could sing brightly at her window,
Dein ist mein Herz, und soll es ewig bleiben. My heart is yours, and always will be.
Den Morgenwinden möcht’ ich’s hauchen ein, I want to breathe in into the morning breeze,
Ich möcht’ es säuseln durch den regen Hain; I want to whisper it through the rustling grove,
O, leuchtet’ es aus jedem Blumenstern! If only it could shine from every flower!
Trüg’ es der Duft zu ihr von nah und fern! If only sweet fragrances could carry it to her from near
and far!
Ihr Wogen, könnt ihr nichts als Räder treiben? You waves, can you drive nothing but millwheels?
Dein ist mein Herz, und soll es ewig bleiben. My heart is yours, and always will be.
Ich meint’, es müßt’ in meinen Augen stehn, I’m sure it must shine out from my eyes,
Auf meinen Wangen müßt’ man’s brennen sehn, It must be seen burning on my cheeks,
Zu lesen wär’s auf meinem stummen Mund, You must be able to read it on my silent mouth,
Ein jeder Atemzug gäb’s laut ihr kund; Every sigh must proclaim it;
Und sie merkt nichts von all’ dem bangen Treiben: But she sees nothing of all this desperate longing.
Dein ist mein Herz, und soll es ewig bleiben! My heart is yours, and always will be.
Morgengruß Morning Greeting
Guten Morgen, schöne Müllerin! Good morning, fair maid of the mill!
Wo steckst du gleich das Köpfchen hin, Why do you so quickly turn head
Als wär’ dir was geschehen? As if something had happened to you?
Verdrießt dich denn mein Gruß so schwer? Does my greeting displease you so much?
Verstört dich denn mein Blick so sehr? Does my glance distress you so much?
So muss ich wieder gehen. If so, I must go away again.
O laß mich nur von ferne stehn, Oh let me stand far off
Nach deinem lieben Fenster sehn, And look at your dear window,
Von ferne, ganz von ferne! From far away, very far away!
Du blondes Köpfchen, komm hervor! Little blond head, show yourself!
Hervor aus eurem runden Tor, Come out of your round gates
Ihr blauen Morgensterne! You blue stars of morning!
Ihr schlummertrunknen Äugelein, You little eyes still drunk with sleep,
Ihr taubetrübten Blümelein, Little flowers, saddened by the dew,
Was scheuet ihr die Sonne? Why do you avoid the sun?
Hat es die Nacht so gut gemeint, Was the night so wonderful
Daß ihr euch schließt und bückt und weint That you close them and droop and weep
Nach ihrer stillen Wonne? For its quiet bliss?
Nun schüttelt ab der Träume Flor, Now shake off the veil of dreams
Und hebt euch frisch und frei empor And rise up refreshed and free
In Gottes hellen Morgen! To God’s bright morning!
Die Lerche wirbelt in der Luft, The lark is trilling in the sky,
Und aus dem tiefen Herzen ruft And from the depths of your heart
Die Liebe Leid und Sorgen. Love draws grief and care.Des Müllers Blumen The Miller’s flowers Am Bach viel kleine Blumen stehn, There are many little flowers by the stream, Aus hellen blauen Augen sehn; Gazing from clear blue eyes; Der Bach der ist des Müllers Freund, The stream is the miller’s friend, Und hellblau Liebchens Auge scheint; And my beloved’s eyes are bright blue; Drum sind es meine Blumen. So they are my flowers. Dicht unter ihrem Fensterlein Right under her little window Da will ich pflanzen die Blumen ein, I will plant the flowers, Da ruft ihr zu, wenn alles schweigt, Then call to her, when everything is still, Wenn sich ihr Haupt zum Schlummer neigt, When she lays down her head to sleep, Ihr wißt ja, was ich meine. Well, you know what I want to say. Und wenn sie tät die Äuglein zu, And when she closes her eyes, Und schläft in süßer, süßer Ruh’, And sleeps, oh so sweetly, Dann lispelt als ein Traumgesicht Then whisper to her as in a dream Ihr zu: „Vergiß, vergiß mein nicht!“ “Don’t, oh don’t forget me!” Das ist es, was ich meine. That’s what I want to say. Und schließt sie früh die Laden auf, And when she opens her shutters in the morning Dann schaut mit Liebesblick hinauf: Gaze up at her with a look of love: Der Tau in euren Äugelein, The dew in your little eyes Das sollen meine Tränen sein, Will be my tears, Die will ich auf euch weinen. Which I will shed on you. Tränenregen Raining tears Wir sassen so traulich beisammen We sat comfortably together Im kühlen Erlendach, In the shade of the alders, Wir schauten so traulich zusammen And in harmony gazed down Hinab in den rieselnden Bach. Into the sparkling stream. Der Mond war auch gekommen, The moon had also joined us, Die Sternlein hinterdrein, Followed by the stars, Und schauten so traulich zusammen And they gazed down in harmony In den silbernen Spiegel hinein. Into the silver mirror. Ich sah nach keinem Monde, I didn’t look at the moon, Nach keinem Sternenschein, Nor at the stars, Ich schaute nach ihrem Bilde, I gazed only looked at her reflection, Nach ihren Augen allein. Only at her eyes. Und sahe sie nicken und blicken And I saw them nod and gaze up Herauf aus dem seligen Bach, From the blissful stream, Die Blümlein am Ufer, die blauen, The little blue flowers on the bank, Sie nickten und blickten ihr nach. They nodded and looked at her. Und in den Bach versunken It seemed that the whole sky Der ganze Himmel schien, Was immersed in the stream, Und wollte mich mit hinunter And wanted to draw me In seine Tiefe ziehn. With it into its depths. Und über den Wolken und Sternen And over the clouds and stars Da rieselte munter der Bach, The stream rippled merrily, Und rief mit Singen und Klingen: And called and sang „Geselle, Geselle, mir nach!“ “Come on friend, follow me!” Da gingen die Augen mir über, Then my eyes fuilled with tears, Da ward es im Spiegel so kraus; And the mirror crumpled; Sie sprach: „Es kommt ein Regen, She said: “It’s going to rain, Ade, ich geh’ nach Haus.“ Goodbye, I’m going home.”
Mein! Mine! Bächlein, laß dein Rauschen sein! Little stream stop your babbling! Räder, stellt eur Brausen ein! Wheels, stop your roaring! All’ ihr muntern Waldvögelein, All you cheerful woodbirds, Groß und klein, Large and small, Endet eure Melodein! Stop your warbling! Durch den Hain Through the wood Aus und ein Within it and beyond, Schalle heut’ ein Reim allein: Just let one shout resound today: Die geliebte Müllerin ist mein! My beloved, the maid of the mill is mine! Mein! Mine! Frühling, sind das alle deine Blümelein? Spring, are those all your flowers? Sonne, hast du keinen hellern Schein? Sun, can you not shine more brightly? Ach, so muß ich ganz allein, Ah, then I have to be alone Mit dem seligen Worte mein, With this blissful word of mine, Unverstanden in der weiten Schöpfung sein. With no-one in creation to understand. Pause Pause Meine Laute hab’ ich gehängt an die Wand, I have hung my lute up on the wall, Hab’ sie umschlungen mit einem grünen Band – I have tied a green ribbon around it – Ich kann nicht mehr singen, mein Herz ist zu voll, I can’t sing any more, my heart is too full, Weiß nicht, wie ich’s in Reime zwingen soll. I don’t know how I can fashion it into rhyme. Meiner Sehnsucht allerheißesten Schmerz The most burning pangs of my longing Durft’ ich aushauchen in Liederscherz, I could express in playfil song, Und wie ich klagte so süß und fein, And as I lamented so sweetly and tenderly Glaubt’ ich doch, mein Leiden wär’ nicht klein. I thought my suffering was not trifling, Ei, wie groß ist wohl meines Glückes Last, Oh, how great is the burden of my joy, Daß kein Klang auf Erden es in sich faßt? That no sound on earth can contain it? Nun, liebe Laute, ruh’ an dem Nagel hier! So, dear lute, rest on this nail! Und weht ein Lüftchen über die Saiten dir, And if a breeze wafts over your strings, Und streift eine Biene mit ihren Flügeln dich, Or of a bee grazes you with its wings, Da wird mir so bange und es durchschauert mich. I shall be afraidand shudder Warum ließ ich das Band auch hängen so lang’? Why did I allow the ribbon to hang down so far? Oft fliegt’s um die Saiten mit seufzendem Klang. If often flutters by the strings making them sigh. Ist es der Nachklang meiner Liebespein? Is it the echo of the pain of my love? Soll es das Vorspiel neuer Lieder sein? Or is it the prelude to new songs? Mit dem grünen Lautenbande To accompany the lute’s green ribbon. Mit dem grünen Lautenband With the green lute ribbon „Schad’ um das schöne grüne Band, “Shame about the pretty green ribbon, Daß es verbleicht hier an der Wand, It’s faded here on the wall, Ich hab’ das Grün so gern!“ And I like green so much!” So sprachst du, Liebchen, heut’ zu mir; That’s what you, my darling, said to me today, Gleich knüpf’ ich’s ab und send’ es dir: I untied it straight away and sent it to you: Nun hab’ das Grüne gern! So enjoy the green! Ist auch dein ganzer Liebster weiß, Though your sweetheart is all in white Soll Grün doch haben seinen Preis, Green will have its reward, Und ich auch hab’ es gern. And I like it too! Weil unsre Lieb’ ist immergrün, Because our love is evergreen, Weil grün der Hoffnung Fernen blühn, Because distant hopes blossom green, Drum haben wir es gern. That’s why we love it. Nun schlinge in die Locken dein Now wind this green ribbon Das grüne Band gefällig ein, Prettily in your hair, Du hast ja’s Grün so gern. You like green so much. Dann weiß ich, wo die Hoffnung grünt, Then I will know where hope dwells, Dann weiß ich, wo die Liebe tront, Then I will know where love rules, Dann hab’ ich’s Grün erst gern. Only then will I really love green!
Der Jäger The Huntsman
Was sucht denn der Jäger am Mühlbach hier? What is this huntsman doing here by the millstream?
Bleib’, trotziger Jäger, in deinem Revier! Stay, defiant huntsman, in your own territory.
Hier gibt es kein Wild zu jagen für dich, There is no game for you to hunt here,
Hier wohnt nur ein Rehlein, ein zahmes, für mich. There is only one little fawn here, a tame one, for me.
Und willst du das zärtliche Rehlein sehn, And if you want to see than gentle fawn,
So laß deine Büchsen im Walde stehn, Then leave your guns in the forest,
Und laß deine klaffenden Hunde zu Haus, And leave your baying hounds at home,
Und laß auf dem Horne den Saus und Braus, And stop making all that noise on your horn,
Und scheere vom Kinne das struppige Haar, And shave that coarse hair off your chin,
Sonst scheut sich im Garten das Rehlein fürwahr. Or you will really frighten the fawn in the garden.
Doch besser, du bliebest im Walde dazu, But it would be much better if you stayed in the forest,
Und ließest die Mühlen und Müller in Ruh’. And leave the mills and millers in peace.
Was taugen die Fischlein im grünen Gezweig? How can fish thrive among green branches?
Was will denn das Eichhorn im bläulichen Teich? What can a squirrel want in the blue pond?
Drum bleibe, du trotziger Jäger, im Hain, So, defiant huntsman, stay in the woods,
Und laß mich mit meinen drei Rädern allein; And leave me alone with my three millwheels;
Und willst meinem Schätzchen dich machen beliebt And it you want to please my sweetheart
So wisse, mein Freund, was ihr Herzchen betrüht: Take note, my friend, what distresses her heart:
Die Eber, die kommen zur Nacht aus dem Hain, Wild boars come out of the forest at night
Und brechen in ihren Kohlgarten ein, And break into her cabbafe patch,
Und treten und wühlen herum in dem Feld: Rooting and trampling around in the field.
Die Eber die schieße, du Jägerheld! Shoot the wild boars huntsman!
Eifersucht und Stolz Jealousy and Pride
Wohin so schnell, so kraus und wild, mein lieber Where are you rushing to, dear stream, so ruffled
Bach? and wild
Eilst du voll Zorn dem frechen Bruder Jäger nach? Are you dashing after our insolent huntsman friend in
anger?
Kehr’ um, kehr’ um, und schilt erst deine Müllerin Turn back, turn back, and first scold your miller maid
Für ihren leichten, losen, kleinen Flattersinn. For her frivolous, wanton ficklemess.
Sahst du sie gestern abend nicht am Tore stehn, Didn’t you see her yesterday evening standing at the
gate,
Mit langem Halse nach der großen Straße sehn? Craning her neck as she peered down the high
road?
Wenn von dem Fang der Jäger lustig zieht nach When a huntsman comes back merrily after the kill
Haus,
Da steckt kein sittsam Kind den Kopf zum Fenster No nice girl sits with her head out of the window.
’naus.
Geh’, Bächlein, hin und sag’ ihr das, doch sag’ ihr Go, little stream, and tell her that, but don’t say a
nicht, word,
Hörst du, kein Wort, von meinem traurigen Gesicht; Do you hear? - about my mournful face.
Sag’ ihr: Er schnitzt bei mir sich eine Pfeif’ aus Rohr, Tell her, he is on my banks carving a reed pipe
Und bläst den Kindern schöne Tänz’ und Lieder vor. And is playing pretty songs and dances for the
children.
Die liebe Farbe The lovely colour
In Grün will ich mich kleiden, I will dress myself in green,
In grüne Tränenweiden, In green weeping willows,
Mein Schatz hat’s Grün so gern. My love is so fond of green.
Will suchen einen Zypressenhain, I will search out a cypress grove,
Eine Heide von grünem Rosmarein, A heath full of green rosemary,
Mein Schatz hat’s Grün so gern. My love is so fond of green.Wohlauf zum fröhlichen Jagen! Up and away to the merry hunt!
Wohlauf durch Heid’ und Hagen! Away over heath and hedge!
Mein Schatz hat’s Jagen so gern. My love is so fond of the hunt.
Das Wild, das ich jage, das ist der Tod, The game that I pursue, is death,
Die Heide, die heiss ich die Liebesnot, The heath, I call the torment of love.
Mein Schatz hat’s Jagen so gern. My love is so fond of the hunt.
Grabt mir ein Grab im Wasen, Dig me a grave in the grass,
Deckt mich mit grünem Rasen, Cover me with green turf,
Mein Schatz hat’s Grün so gern. My love is so fond of green.
Kein Kreuzlein schwarz, kein Blümlein bunt, No little black cross, no colourful flowers,
Grün, alles grün so rings und rund! Green, just everything green all around!
Mein Schatz hat’s Grün so gern. My love is so fond of green.
Die böse Farbe The hateful colour
Ich möchte ziehn in die Welt hinaus, I want to set off out into the world,
Hinaus in die weite Welt, Out into the wide world,
Wenn’s nur so grün, so grün nicht wär’ If only it wasn’t so green, so green,
Da draußen in Wald und Feld! Out there in the woods and fields.
Ich möchte die grünen Blätter all’ I want to pick all the green leaves
Pflücken von jedem Zweig, From every twig,
Ich möchte die grünen Gräser all’ I want to weep all the grass
Weinen ganz totenbleich. White with my tears.
Ach Grün, du böse Farbe du, Oh green, you hateful colour,
Was siehst mich immer an, Why do you constantly look at me,
So stolz, so keck, so schadenfroh, So proud, so insolent, so gloating,
Mich armen, armen weißen Mann? At poor me, at this poor white miller?
Ich möchte liegen vor ihrer Tür, I want to lie at her door,
Im Sturm und Regen und Schnee, In storm and rain and snow,
Und singen ganz leise bei Tag und Nacht And sing softly night and day
Das eine Wörtchen Ade! The one little word – farewell!
Horch, wenn im Wald ein Jagdhorn schallt, Listen, when a horn sounds in the forest
Da klingt ihr Fensterlein, There’s the sound of her window opening,
Und schaut sie auch nach mir nicht aus, And even thought she isn’t looking out for me,
Darf ich doch schauen hinein. I can look in at her.
O binde von der Stirn dir ab Oh unbind that ribbon from your brow,
Das grüne, grüne Band, That green, green ribbon,
Ade, Ade! und reiche mir Farewell, farewell, and
Zum Abschied deine Hand! Give me your hand in parting.
Trockene Blumen Dried flowers
Ihr Blümlein alle, All you flowers,
Die sie mir gab, Which she gave me,
Euch soll man legen They should place you
Mit mir ins Grab. With me in my grave.
Wie seht ihr alle Why do you look at me
Mich an so weh, So sorrowfully,
Als ob ihr wüßtet, As if you knew
Wie mir gescheh’? What has befallen me?
Ihr Blümlein alle, All you flowers,
Wie welk, wie blaß? So faded, so pale,
Ihr Blümlein alle All you flowers
Wovon so naß? Why are you so moist?Ach, Tränen machen Alas, tears don’t create Nicht maiengrün, The green of May, Machen tote Liebe They don’t make dead love Nicht wieder blühn. Blossom again. Und Lenz wird kommen And Spring will come, Und Winter wird gehn, And Winter will go, Und Blümlein werden And there will be flowers Im Grase stehn. In the grass. Und Blümlein liegen And flowers willl lie In meinem Grab, In my grave, Die Blümlein alle, All the flowers Die sie mir gab. That she gave me. Und wenn sie wandelt And when she walks Am Hügel vorbei, Past the mound, Und denkt im Herzen: And thinks in her heart „Der meint’ es treu!“ “His love was true!” Dann Blümlein alle, Then little flowers, Heraus, heraus! Come forth, come forth! Der Mai ist kommen, May has arrived, Der Winter ist aus. Winter is over. Der Müller und der Bach The miller and the stream Der Müller: Wo ein treues Herze The miller: When a faithful heart In Liebe vergeht, Dies of love, Da welken die Lilien The lilies wilt Auf jedem Beet. In their beds. Da muss in die Wolken The full moon Der Vollmond gehn, Must hide bhind the clouds, Damit seine Tränen So that no-one Die Menschen nicht sehn. Can see its tears. Da halten die Englein And the angels Die Augen sich zu, Close their eyes, Und schluchzen und singen And sob and sing Die Seele zu Ruh’. The soul to its rest. Der Bach: Und wenn sich die Liebe The stream: And when love Dem Schmerz entringt, Struggles free from sorrow, Ein Sternlein, ein neues A new little star Am Himmel erblinkt. Appears in the heavens. Da springen drei Rosen, Three roses spring up, Halb rot und halb weiß, Half red and half white, Die welken nicht wieder They will not fade again, Aus Dornenreis. From their thorny stems. Und die Engelein schneiden And the angels Die Flügel sich ab, Cut off their wings, Und gehn alle Morgen And every morning Zur Erde herab. All descend to the earth. Der Müller: Ach, Bächlein, liebes Bächlein, The miller: Oh stream, dear stream, Du meinst es so gut: You mean so well, Ach, Bächlein, aber weißt du, But, little stream, do you know Wie Liebe tut? What love can do? Ach, unten, da unten, Down below, down below, Die kühle Ruh’! There is cool rest! Ach, Bächlein, liebes Bächlein, Oh stream, dear little stream, So singe nur zu. Carry on singing.
Des Baches Wiegenlied The stream’s lullaby Gute Ruh’, gute Ruh’, Sleep well, sleep well, Tu’ die Augen zu! Close your eyes! Wandrer, du müder, du bist zu Haus. Tired wanderer, you are at home! Die Treu’ ist hier, Here is constancy; Sollst liegen bei mir, You will lie with me, Bis das Meer will trinken die Bächlein aus. Until the sea swallows all the little streams. Will betten dich kühl, I shall prepare you a cool bed, Auf weichen Pfühl, On soft pillows, In dem blauen krystallenen Kämmerlein. In the little blue crystal chamber. Heran, heran, Come on, come on, Was wiegen kann, All you who can lull, Woget und wieget den Knaben mir ein. Rock and lull this lad for me. Wenn ein Jagdhorn schallt If a hunting horn sounds Aus dem grünen Wald, From the gree forest Will ich sausen und brausen wohl um dich her. I will rush and surge around you! Blickt nicht herein, Don’t look in, Blaue Blümelein, Little blue flowers, Ihr macht meinem Schläfer die Träume so schwer. You will give my sleeper bad dreams. Hinweg, hinweg Away away Von dem Mühlensteg, From the mill path, Böses Mägdelein, daß ihn dein Schatten nicht weckt! Wicked girl, lest your shadow wake him! Wirf mir herein Throw me Dein Tüchlein fein, Your delicate shawl Dass ich die Augen ihm halte bedeckt. So that I can keep his eyes covered. Gute Nacht, gute Nacht!! Good night, good night, Bis alles wacht,! Till everything awakes. Schlaf’ aus deine Freude, schlaf’ aus dein Leid!! Sleep away your joy, sleep away your sorrow! Der Vollmond steigt,! The full moon is rising, Der Nebel weicht,! The mist is dispersing, Und der Himmel da droben, wie ist er so weit! And the heavens above are so wide!
PROGRAMME NOTES
Brahms Vier ernste Gesänge op. 121
Max Klinger, 'Accorde' (1894) from his Brahms-Phantasie:
Klinger himself is playing the piano
Brahms composed this work in Vienna in 1896. It was his last publication in the last year of
his life. He dedicated it to the artist Max Klinger, his friend for some twenty years. Klinger
was a good pianist and was also a friend of the composer Reger. He had created a series of
prints called ‘Brahms Fantasies’ in 1894.
The Vier ernste Gesänge were written after Clara Schumann had suffered a stroke that year,
and Brahms was anticipating her death. He finished the set by his birthday on 7th May and
Clara died on the 20th. Brahms himself was suffering from liver cancer from which he died
the following year. The first performance was given in Vienna in November 1896 in the
presence of the composer, by two Dutch musicians, Anton Sistermans and the
pianist Coenraad Bos. Brahms came backstage and thanked them for the performance,
which he said perfectly realised his intentions. But there was another performance with the
same pianist a fortnight later which Brahms attended. On this occasion the singer could not
control the very quiet ending and told Bos to continue a crescendo, ending very loudly
instead of quietly.
The singer apologised to Brahms but Brahms replied ‘You sang them magnificently. I did not
notice anything wrong’.The prose texts, taken from the Luther Bible like the text of his Deutsches Requiem, do not suggest strophic forms, but Brahms constructs these songs with clear elements of symmetry and balance. There is an overall progression from despair to love, reflected in the music in that each song becomes more major-key oriented than the one before it. The economical piano parts are not without drama, as in ‘Denn es gehet dem Menschen’. The melodic line of descending thirds that features in the second and third songs is related to the opening theme of Brahms’s fourth symphony. The austerity of Brahms’s musical language in these songs is particularly evident in ‘O Tod, wie bitter bist du’, which has all the appearance on the page of much older music by composers like Schütz (Brahms was very interested in baroque music). There is a striking change of mood for ‘Wenn ich mit Menschen‘, with rhythmic energy (a faster tempo than the other songs) and relative optimism (a major-key opening) for St Paul’s words about love. Schubert Die schöne Müllerin Title page of the 1st edition from Sauer & Leidesdorf, with a more picturesque edition by Diabelli Schubert (R) with the singer Vogl (L) (1825)
Die schöne Müllerin This is Schubert’s first song-cycle, described as such on the title page (‘Zyklus von Liedern’). Johann Müller Die schöne Müllerin, published in 1820, originated some years earlier in a literary game which started in 1816. Müller joined a salon which staged a Liederspiel, a little drama told in poetry and song. Its subject was based on the folk story of a miller’s daughter choosing between various suitors. Salon members acted in various roles, writing their own songs (and referring to their own real-life romantic entanglements). Unsurprisingly, Müller played the miller. Müller eventually wrote a complete cycle of poems, and a first draft was finished by 1817. He expanded the cycle in 1820 and published it in his Sieben und Siebzig Gedichte aus den hinterlassenen Papieren eines reisenden Waldhornisten (Seventy-Seven Poems from the Posthumous Papers of a Travelling Horn Player) in 1821. It is not known how Schubert came to know these poems. An apocryphal story relates how Schubert simply found the poetry in a friend’s house and just took it home; apparently, its owner called on Schubert the next day to retrieve it and was presented with the book as well as the first few songs in the cycle. However, more recently it has been suggested that the composer Weber introduced Schubert to Müller’s poetry when he visited Vienna in 1822. At all events, he composed most of the songs in a few months in 1823, while he was also working on his opera Fierrabras. Schubert was ill from syphilis and during at least some of this time he was hospitalized, so he may have composed part of the cycle while in hospital. In 1824 Schubert wrote to a friend: ... imagine a man whose health will never be right again; Imagine a man, I say, whose most brilliant hopes have come to nothing, to whom the joy of love and friendship have nothing to offer but pain. I may well sing every day now, for each night, I go to bed hoping never to wake again, and each morning only tells me of yesterday’s grief. There is a very clear sense of form at every level in the cycle. The whole cycle is in two parts, separated by a ‘Pause’. Most of the songs are strophic, repeating the same melody to each stanza, although this is sometimes modified. Some through-composed songs also include an element of repetition. Popular tunes are evoked – the opening ‘Das Wandern’ could almost be a song for Papageno. As in Winterreise, the natural world is present, most obviously in the brook, but there are also the water wheel and musical instruments (lute and hunting horn). The colour green is also significant, found in the huntsman’s clothes and the ribbon, and the subject of several songs. If in general there are fewer detailed evocations of the natural world than in Winterreise, the brook plays a central role. It winds its way through the cycle, guiding the young man to the mill, acting as his confidant, and finally singing him a lullaby. The few notes that open ‘Danksagung an den Bach’ return as the motif of ‘Des Baches Wiegenlied’ – we think the stream is actually answering the young man with an offer of permanent rest. Indeed, the stream is more a presence than the girl – but Diabelli’s title page uses her as a marketing device. The hunting horns are not just conventional topics of romanticism. Listen to how in ‘Die liebe Farbe’ the man notes how the girl likes green, the huntsman’s colour – and a hunting horn appears in the piano part at ‘Mein Schatz hat’s Jagen so gern’ in the major and then the minor.
Schubert and the singer Johann Vogl frequently performed songs from Die schöne Müllerin in concerts throughout Austria in mid-1820s. Vogl was a well-known opera singer who had retired from the stage in 1823. Schubert admired him, saying ‘The manner in which Vogl sings and the way I accompany, as though we were one at such a moment, is something quite new and unheard-of for these people.’ Vogl would elaborate Schubert’s melodic lines, was somewhat affected in performance, and had a habit of toying with his spectacles while singing. Vogl thought Schubert’s songs were ‘truly divine inspirations, the utterance of a musical clairvoyance.’ In 1830 a version of Die schöne Müllerin was published including Vogl’s embellishments and alterations, which was for many years seen as the standard text of that work. But a complete performance of the cycle – something we take for granted now – did not happen until 1856, given by Julius Stockhausen, and it was entirely normal for singers to perform selections from what we now call song-cycles throughout the 19th century. Schubert’s friend Joseph von Spaun summed up his achievement: In this category he stands unexcelled, even unapproached … Every one of his songs is in reality a poem on the poem he set to music … Who among those who had the good fortune to hear some of his greatest songs does not remember how this music made a long familiar poem new for him, how it was suddenly revealed to him and penetrated to his very depth. © Dr George Kennaway 2021
GERALD FINLEY Grammy-award winning Canadian bass-baritone Gerald Finley is a leading singer and dramatic interpreter of his generation, with acclaimed performances at the world’s major opera and concert venues and award-winning recordings on CD and DVD with major labels in a wide variety of repertoire. He began with Mozart’s baritone roles: his Don Giovanni and Count Le nozze di Figaro have been heard live throughout the world and on DVD. Recent signature roles include Guillaume Tell (Metropolitan Opera, Accademia di Santa Cecilia, ROH, recorded on EMI), Scarpia (ROH, Berlin Staatsoper), Iago (ROH, Bayerische Staatsoper, COC), and Bartok’s Bluebeard (Met, LSO). He created Harry Heegan in Mark Anthony Turnage's The Silver Tassie, Howard K. Stern in Turnage’s Anna Nicole, J. Robert Oppenheimer in John Adams’ Doctor Atomic, Jaufré Rudel in Saariaho's L’amour de loin and Mr. Fox in Tobias Picker’s Fantastic Mr. Fox. In recent years, critical successes have been in the Wagner repertoire: Hans Sachs (Glyndebourne, Opéra de Paris), Amfortas Parsifal (ROH, Vienna Staatsoper), and Wolfram Tannhäuser (Lyric Opera of Chicago). His expanding repertoire includes Verdi’s Falstaff (COC), Iago Otello (ROH, LSO/LSO Live and COC), and The Traveller/multiple role Death in Venice (ROH). Other recent and important roles include Don Alfonso Cosi fan tutte (Met), Golaud, Eugene Onegin and Nick Shadow. Concert appearances include King of Scotland Ariodante, title role Il prigioniero (NYPO and BRSO) and Chou en Lai Nixon in China (BBC SO). On the LSO Live label he has recently released an acclaimed recording of Janacek’s Cunning Little Vixen. Mr Finley’s concert work is a vital part of his career with recent appearances with the Berlin Philharmonic, the Concertgebouw Orchestra Amsterdam, the Bavarian Radio Symphony Orchestra, the Mahler Chamber Orchestra, and the Los Angeles Philharmonic Orchestra. Modern day composers have written extensively for Mr Finley including Peter Lieberson (“Songs of Love and Sorrow” with the Boston Symphony, recorded with the Helsinki Radio Orchestra), Mark Anthony Turnage (“When I woke” with the LPO), Huw Watkins, Julian Philips, Kaija Saariaho (“True Fire” with the Los Angeles Philharmonic), and Einojuhani Rautavaara (“Rubáiyát” with the Helsinki Philharmonic). He appeared as the star soloist for the 2018 BBC Last Night of the Proms. As a celebrated song recitalist, he works regularly with pianist Julius Drake. Recent engagements include the Schubertiade, recitals throughout Europe, a residency at the Wigmore Hall, at New York’s Carnegie-Zankel Hall and appearances at the Tanglewood and Ravinia Festivals. He presents Schubert’s Schwanengesang at the 2021 Salzburg Festival, and Schumann’s Dichterliebe at the Edinburgh Festival. Mr Finley’s many critically acclaimed solo recital CD releases on the Hyperion label have been devoted to complete discs of songs of Barber, Britten, Ives, Liszt, Ravel, Schumann’s song cycles Dichterliebe and Liederkreis Op. 24 & 39, Schubert’s Schwanengesang, Winterreise and the soon to be released Die schöne Müllerin. He has been awarded an unprecedented three Gramophone Magazine Awards in the Solo Vocal category. The release of Schubert’s Winterreise won a Canadian Juno Award in 2015. His recent Orchestral songs
by Sibelius (Bergen Philharmonic, Chandos) was nominated "Best Vocal Album” by Gramophone Magazine. Gerald Finley, born in Montreal, began singing as a chorister in Ottawa, Canada, and completed his musical studies in the UK at the Royal College of Music, King’s College, Cambridge, and the National Opera Studio. He is a Fellow and Visiting Professor at the Royal College of Music. In 2014 he climbed Kilimanjaro for the charity Help Musicians UK. He has been appointed Commander of the Order of the British Empire and an Officer of the Order of Canada. Mr Finley also features on a Canadian stamp celebrating Canadians in opera. JULIUS DRAKE The pianist Julius Drake lives in London and enjoys an international reputation as one of the finest instrumentalists in his field, collaborating with many of the world’s leading artists, both in recital and on disc. The New Yorker has described him as the “collaborative pianist nonpareil”. He appears regularly at all the major music centres and festivals: the Aldeburgh, Edinburgh, Munich, Schubertiade, and Salzburg Music Festivals; Carnegie Hall and Lincoln Center New York; The Royal Concertgebouw, Amsterdam and Philharmonie, Berlin; the Châtelet and Musée du Louvre Paris; La Scala, Milan and Teatro de la Zarzuela, Madrid; Musikverein and Konzerthaus, Vienna; and Wigmore Hall and BBC Proms London. Director of the Perth International Chamber Music Festival in Australia from 2000 -2003, Julius Drake was also musical director of Deborah Warner’s staging of Janáček’s Diary of One Who Vanished, touring to Munich, London, Dublin, Amsterdam and New York. Since 2009 he has been Artistic Director of the Machynlleth Festival in Wales. Julius Drake’s passionate interest in song has led to invitations to devise song series for Wigmore Hall, London, the BBC and The Royal Concertgebouw, Amsterdam. His annual series of song recitals –Julius Drake and Friends –in the historic Middle Temple Hall in London, has featured recitals with many outstanding vocal artists including Sir Thomas Allen, Olaf Bär, Ian Bostridge, Angelika Kirchschlager, Iestyn Davies, Veronique Gens, Sergei Leiferkus, Dame Felicity Lott, Simon Keenlyside, Christopher Maltman, Mark Padmore, Christoph Prégardien, Amanda Roocroftand Sir Willard White.Julius Drake is frequently invited to perform at international chamber music festivals –most recently,Lockenhaus in Austria; West Cork in Ireland; Oxford in England; Boswil in Switzerland and Delft in the Netherlands.Julius Drake holds a professorship at Graz University for Music and the Performing Arts in Austria, where he has aclass for song pianists, and is professor of collaborative piano at the Guildhall School of Music in London. He is regularly invited to give master classes worldwide; recently in Aldeburgh, Brussels, Utrecht, Cincinnati, New York, Toronto, Minneapolis, Ann Arbor, Vienna, and at the Schubert Institute in Baden bei Wien. Julius Drake’s many recordings include a widely acclaimed series with Gerald Finley for Hyperion, from which the Barber Songs, Schumann Heine Lieder and Britten Songs and Proverbs won the 2007, 2009 and 2011 Gramophone Awards; award winning recordings with Ian Bostridge for EMI; several recitals for the Wigmore Live label, with among others Alice Coote, Ian Bostridge, Joyce DiDonato, Lorraine Hunt Lieberson, Christopher Maltman and Matthew Polenzani; recordings French Sonatas for Virgin Classics with Nicholas Daniel; of Kodaly and Schoeck sonatas with the cellists Natalie Clein and Christian Poltéra for the Hyperion and Bis labels; Tchaikovsky and Mahler with Christianne Stotijn for Onyx; English song with Bejun Mehta for Harmonia Mundi; and Schubert’s ‘Poetisches Tagebuch’ with Christoph Prégardien, which won the Jahrespreis der Deutschen Schallplattenkritik 2016.Julius Drake’s most recent CDs have been widely critically
acclaimed and include Janacek’s ‘Diary of One who Disappeared’ with the Scottish tenor Nicky Spence(Hyperion),winner of a 2020 Gramophone Award and a 2020 BBC Music Magazine Award;‘Paradise Lost’ (Alpha) with the Austrian soprano Anna Prohaska; and Vol. 6 of the Liszt Complete Songs (Hyperion) with the German soprano Julia Kleiter. The second CD in this Liszt series with Angelika Kirchschlager won the BBC Music Magazine Award in 2012. Concerts in the current and coming seasons include a series to celebrate the Beethoven anniversary at the 92ndSt Y in New York, a Mahler series at the Concertgebouw in Amsterdam and a two-season series at the Pierre Boulez Saal in Berlin. Other highlights include recitals at La Scala, Milan with Aleksandra Kurzak, at Wigmore Hall with Alice Coote, in Barcelona with Sarah Connolly, at the Schubertiade, Austria with Christoph Prégardien and Ian Bostridge, tours in Europe with Anna Prohaska and Eva-Maria Westbroek, and recitals at the 2021 Salzburg Festival and Edinburgh Festival with Gerald Finley. MICHAEL MOFIDIAN Winner of the 2018 Royal Over-Seas League Singers’ Prize and the 2017 Pavarotti Prize, Michael was born and raised in Glasgow, and educated at the University of Cambridge and the Royal Academy of Music. Michael was a 2018-2020 Jette Parker Young Artist at the Royal Opera House, Covent Garden where roles included Narumov Queen of Spades, Alcade Forza del destino, Angelotti Tosca, Zuniga Carmen, Minotauros Phaedra (Linbury Studio Theatre), Johan Werther, Bass 1 Death in Venice, Dr Grenvil La Traviata, Judge and Chelsias Susanna and Deputy Don Carlo, as well as covering the roles of Figaro Le nozze di Figaro and Colline La Bohème. Whilst on the programme he worked under conductors including Sir Tony Pappano, Edward Gardner, Alexander Joel, Julia Jones and Keri-Lynn Wilson. He made his Glyndebourne Festival début as the Doctor in Pelléas et Mélisande and the Imperial Commissioner in Madam Butterfly in the 2018 Festival, where he was a Jerwood Young Artist. Most recently he sang Don Alfonso Cosi fan Tutte for Scottish Opera, and this season will return to the Royal Opera House Covent Garden as a guest soloist in the role of Masetto Don Giovanni, as well as making his Salzburg Festival debut as Angelotti Tosca. Future opera engagements include roles for Geneva Opera, Opera de Rouen and for the Glyndebourne Festival. Concert work has included Verdi Requiem; Jesus, Pilate and arias in both Bach Passions; Haydn Creation; Handel Messiah; Stravinsky Les noces; Beethoven’s 9th Symphony; Mozart Requiem; Fauré Requiem; and Dvořák Stabat Mater. This season he performed Mahler’s Kindertotenlieder and a new composition by Roderick Williams with the Britten Sinfonia under Sir Mark Elder. Michael was a joint winner of the 2017 Oxford Lieder Young Artist Platform and has given recitals for the Oxford Lieder Festival, the Wigmore Hall, St John’s Smith Square, Queen’s Hall Edinburgh and most recently City Halls in Glasgow for a BBC broadcast. He recently took part in the first recording of the complete songs of Erik Chisholm, due to be released in 2021 by Delphian Records. Michael is also a composer; his works include pieces for orchestra, instrumental chamber music, art songs and works for vocal ensemble, and his teachers have included Sir James MacMillan, Richard Causton and Robin Holloway.
JÂMS COLEMAN From Anglesey, North Wales, Jâms Coleman is a pianist who enjoys a rich and varied musical life performing as a soloist, chamber musician and vocal accompanist. Recent recital highlights include performing with Sir Bryn Terfel in a live Radio 3 broadcast from St David’s Hall, Cardiff performing with bass-baritone Michael Mofidian at the livestreamed Oxford Lieder Festival and performing at the Penarth Chamber Music Festival with Lucy Gould, David Adams, Rebecca Jones and Alice Neary. Recent recordings include a disc of Loewe songs with baritone Nicholas Mogg for Champs Hill Records and future recording plans include a recital disc of Czech and Hungarian music with cellist Laura van der Heijden for Chandos Records. As a vocal accompanist, he enjoys collaborating with many singers and his engagements include recitals with Ailish Tynan, James Gilchrist, Sir John Tomlinson, Robert Murray, Nicholas Mulroy, Nicky Spence, Robert Murray, Andrew Kennedy, James Newby, Lauren Fagan, Michael Mofidian and Nicholas Mogg. Chamber-music engagements include performances in the UK and across Europe with instrumentalists Laura van der Heijden, Jamal Aliyev, Steffan Morris, Timothy Ridout, Peter Moore, Luke Hsu, and Maggie Faultless. He has performed live on BBC Radio 3, BBC World Service, BBC 2’s Proms Extra, BBC Radio Cymru and S4C. Jâms enjoys performing solo recitals and as a concerto soloist. Concerto performances include Beethoven’s Third, Fourth and Fifth Piano Concertos and concertos by Chopin, Brahms and Mozart. Jâms read Music at Girton College, Cambridge, where he was also a choral scholar. In 2016 he graduated with a Masters from the Royal Academy of Music where he then stayed on as a Fellow. In 2018 he was the Artistic Director of a concert series based in St Clement Danes Church in Central London which featured twenty-four lunchtime concerts and five evening concerts.
Sie können auch lesen
